{"title":"建构情感:弗朗哥统治时期的白人浪漫主义和殖民情节剧","authors":"Diana Arbaiza","doi":"10.1080/24741604.2022.2088922","DOIUrl":null,"url":null,"abstract":"Abstract This article examines two lesser-known colonial melodramas released during the Francoist period, Obsesión (1947) by Arturo Ruiz Castillo and Piedra de toque (1964) by Julio Buchs. Melodrama is not a genre prominently associated with colonial cinema, but it was the most popular style within the Spanish cinematographic production on Equatorial Guinea. In this article I explore why directors privileged this genre in representing the Spanish colony, and I examine how the white love triangle served disparate purposes in these films, from conveying subversive meanings to reinforcing normative ideologies.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"6 1","pages":"281 - 301"},"PeriodicalIF":0.0000,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Framing Emotions: White Romance and Colonial Melodramas During Francoism\",\"authors\":\"Diana Arbaiza\",\"doi\":\"10.1080/24741604.2022.2088922\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract This article examines two lesser-known colonial melodramas released during the Francoist period, Obsesión (1947) by Arturo Ruiz Castillo and Piedra de toque (1964) by Julio Buchs. Melodrama is not a genre prominently associated with colonial cinema, but it was the most popular style within the Spanish cinematographic production on Equatorial Guinea. In this article I explore why directors privileged this genre in representing the Spanish colony, and I examine how the white love triangle served disparate purposes in these films, from conveying subversive meanings to reinforcing normative ideologies.\",\"PeriodicalId\":37212,\"journal\":{\"name\":\"Bulletin of Spanish Visual Studies\",\"volume\":\"6 1\",\"pages\":\"281 - 301\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-07-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Bulletin of Spanish Visual Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/24741604.2022.2088922\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Bulletin of Spanish Visual Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/24741604.2022.2088922","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
Framing Emotions: White Romance and Colonial Melodramas During Francoism
Abstract This article examines two lesser-known colonial melodramas released during the Francoist period, Obsesión (1947) by Arturo Ruiz Castillo and Piedra de toque (1964) by Julio Buchs. Melodrama is not a genre prominently associated with colonial cinema, but it was the most popular style within the Spanish cinematographic production on Equatorial Guinea. In this article I explore why directors privileged this genre in representing the Spanish colony, and I examine how the white love triangle served disparate purposes in these films, from conveying subversive meanings to reinforcing normative ideologies.
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